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PKM (1984)

Pee Wee Watson (Bass), Kenny Soule (Drums), Mike Garner (Guitar)





This Live performance showcases the most monstrous Power Trio to come out of the NC Rock scene of the 80's or any other time!

PKM was a semi spin-off of the band Nantucket. Pee Wee and Kenny were the rhythm section of the band. When Nantucket lost their deal with Epic Records, P and K split and picked up guitarist friend Mike Gardner to form this killer power trio.

While in the middle of prepping for The Accelerators videos LEAVE MY HEART and STILETTO, PKM dropped in and asked about a video. I had seen them before and knew how well they rocked and suggested a live performance rather than a music video. And so this Live five-camera production was scheduled for The Attic in Greenville.

The one thing you will notice about this video production is how the camera work is in your face. I had sort of trained the two stage photographers in my early days as production crew chief at WRAL-TV. When I arrived at WRAL in 1978, I was hired as a production crewmember, which meant that I ran a camera in the studio, mostly during news. But thanks to being thrown into all aspects of television production while working for ViaCom in New York, and thanks to my nasty New York attitude, within three months I pushed into WRAL middle management as Production Crew Chief. (My nasty New York attitude has since faded away - my sincere apologies to all!)

Art Howard and Robert Newton had arrived fresh from the media school at NC State University and were willing to listen to my rants on how to shoot video. They quickly become the premiere feature photographers at WRAL - thanks to their skills and talents. So here comes the PKM concert nearly six years later, giving me a chance to hire them both as the stage photographers for this concert. Their up-close and angular shots are standard photography for today's concerts, but in 1984 in was unseen. This was breaking all of the rules, especially having the stage cameras being seen on as part of the production. I didn't care that much about seeing the crew. I wanted the shots! And Art and Robert delivered beautifully.

PKM also delivered beautifully. Their Pop Metal Boogie Rock is still fresh today. If it wasn't for shots of the vintage mid-80's girls in the audience you might think the show was shot yesterday. On the technical side, it is the only video from all of my productions that can be cleanly upgraded to 1080i High Definition and 5.1 Surround Sound thanks to recording the show on one-inch video tape and having a 16-track audio master.

Within a month after PKM's performance, everything seemed to be falling apart. The production company that was to support the editing of the show, closed down. And so I was only able to cut two songs as a finished master. The rest of the concert has never been edited nor has the multi track audio ever been mixed. As this was happening, most of the bands I worked with had by April 1984 also split. A new phase of Comboland artists were starting to form, but I didn't hang around. After living in Raleigh for almost six-years, and shooting music videos for thirty-two months, I thought it was time for me to split too. I moved to Nashville, TN in August 1984.

As a performance and video production, this PKM concert rocks as hard today as it did in 1984. A concert that was shot and never finished. A concert I would like to present in its entirety someday soon.

SET LIST - Hot Town - Here I Go - Your Eyes - America Loves Football - Play It Cool - My Kind Of Girl - Some Kind Of Wonderful - I Don't Know - Long Night - Gimme A Call - Rock Erotica - Bun Runnin' - [Guitar Solo] - Summertime Blues - [Drum Solo] - Slow Down - It Don't Take Much - (encore #1) Breakdown - (encore #2) Mickey's Monkey


ROUGH CUT No.5 - Nantucket / PKM (2007)


The 16-track audio for BREAKDOWN and PLAY IT COOL was quickly mixed and sent to me to deliver as a demo for the band. I did some minor editing to clean up some switching errors and created a mixed master in April of 1984. Both songs you see here are of those masters.


One of the many audience requested song by PKM. People sang or chanted along with all of the PKM originals.


LONG NIGHT, along with PLAY IT COOL, HOT TOWN TONIGHT, GIMME A CALL, IT DON'T TAKE MUCH and ROCK EROTICA were released as studio tracks on the PKM Rock Erotica LP / CD and recorded around the time of this performance. These same songs were audience requested staples in the PKM live set, and also included in this live performance.




A crowd favorite, GIMME A CALL was an original song from PKM's one and only LP, Rock Erotica (now available with extra tracks, as the CD Recycle). The performance along with Pee Wee's mugging to the camera, is one of my personal favorites.


Some of you may recognize SLOW DOWN as the 1950's Larry Williams song. This B-side to DIZZY MISS LIZZY was a personal favorite of John Lennon, who had The Beatles cover both songs. PKM revs up The Beatles' version of the song and then adds a brilliantly sly reference to The Beatles hit PLEASE, PLEASE ME.





IT DON'T TAKE MUCH is one of PKM's signature songs - highly requested by fans and included on their one and only studio LP, Rock Erotica (later released on CD as Recycle). This was the last song of the concert. After this came an encore with BREAKDOWN and then a second encore with DOIN' MICKEY'S MONKEY.


This song was the first of two encores of the evening. The audience would have been happy with more, but the band was spent. This is also the one and only time my old buddy Tony Madejczyk was able to run a camera for me. He is running the audience camera off to the right as you are looking at the stage. So the still image you see of Mike Gardner (above) is from Tony's camera.




DOIN' MICKEY'S MONKEY is one of my favorite performances from the PKM concert. Originally a 1963 Holland-Dozier-Holland hit for Smokey Robinson , Mother's Finest revamped the song in 1977 with some added CUSTARD PIE from Led Zeppelin. Nantucket toured with Mother's Finest before PKM spun-off as a power trio. PKM remembered the song during the sound check for The Attic show. Since a second encore was needed, they threw in this great cover of a cover. Turn it Up! Play it Loud!!




Producer, Director, Editor - Steve Boyle

Cameras - Art Howard, Robert Newton, Tony Madejczyk, Joanie St. James

Remote Engineers - George Johnson, Quincy Ellis

Remote Assistance - Steve A. Moore, Bob Singleton, Ronald Sistare

Remote Audio - Associated Sound, Raleigh

Audio Engineers - Ed Hopson, Steve Foley, David Emory, Mat Naylor, James Lewis, Eddie Hebert

Stage Lighting - Colonel Lighting, Charlotte, NC

Lighting Director - Steve Emory

Stage Manager - David Clemmer

Video Engineers - Chuck Henage, Charles Sites

Photo: Dave Sciabarasi

Above: A photo just before the performance (L to R) Kenny Soule, PeeWee Watson, Pat (the Engineer), Steve Boyle, Mike Gardner - as published in The East Carolinian (East Carolina campus newpaper 02.28.84).



Above: PKM's Rock Erotica LP, later to be remastered for CD as Recycle.


Above: That's me (Steve Boyle) directing the concert from the video remote truck, which was parked behind The Attic. The middle photo shows the one-inch videotape reel recording PKM's performance. Below the photostrip (color) is the reel today.


For additional information on PKM, visit:



PKM picked The Attic in Greenville, NC as the location to videotape their performance. The East Carolina University students provided a stronghold for PKM and proved to be a great choice for the show. Not only because of the rabid crowd that showed up, but The Attic was also one of the few clubs in the state that had a high enough ceiling for concert lighting.

Above: An Attic show schedule with Nantucket playing the night before PKM, Glassmoon (with new spelling) scheduled later in the month and Doc Holliday in one of their last performances, plus an Attic sticker and a Nantucket fan button.

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